FACTUAL TV
FACTUAL FOR A NON-LINEAR AGE
Kingdom, scheduled for delivery in 2025 that follows four animal dynasties – the battles within and between – with narrative arcs shared across the series. Bootle dubbed it “House of the Dragon for animal megafauna… It’s entirely true and accurate – it’s not Disney – but it’s going to feel like a drama. There will be cliff-hangers: will characters live or die?” “Think about new subjects, new story-telling
and new technology and always think about how your series will perform on iPlayer,” says Bootle. Employing plot drivers and charting character
journeys is key. “Documentary and history and natural history can meet in exciting ways,” adds Bootle. Rise of the Bolsanaros looks odd on the natural history slate until you see the tilt. Bootle describes it as a “political thriller,” but also “a way of understanding the deforestation in the Amazon.” Currently in the edit is Rainbow Warrior: Murder in the Pacific, from OSF, about the bombing of Greenpeace ship the Rainbow Warrior in 1985. Bootle describes this as “a murder mystery set in the world of environmentalism.” While the BBC is clearly focused on its
mainstream audience, iPlayer delivery can allow it to look at ideas that might skew for a younger audience. As well as using a present tense narrative, even with archive-based treatments, the BBC wants to take some of its natural history off a pedestal. “Blue chip has become so shiny and perfect and amazing; we almost need to take a bit of sandpaper to the edges and rough it up a bit.” While bringing TV zeitgeist to bear, the non-
linear offering for the major channels, needs to appeal to the masses. “We focus on content and talent that will have broad appeal rather than a specific age demo” says Laycock, describing the brief for discovery+. “Broad is the key. Richard Hammond is a good example of broad appeal
AND SATISFYING ARCS AS DRAMA DOES”
DELIVER ON THE SAME SENSE OF COMPELLING NARRATIVE, FASCINATING CHARACTERS,
“THE PRESSURE NOW IS TO
talent rather than specifically young skewing. The second season of Richard Hammond’s Workshop is currently dropping weekly and doing extremely well.”
REALITY BITES Reality also brings in a regular non-linear audience. “The amazing 90 Day Fiancé universe means our reality fans have a brand new episode every week of the year,” says Laycock. “That’s a gift. While they’re on the service getting their weekly 90 Day fix, we’re dangling other new titles at them hoping to keep them engaged with us for longer” like Beauty and the Geek UK and the upcoming astrology dating show Written in the Stars. “We work hard with our producers, to make sure they don’t have too niche an appeal,” says Laycock. “It wouldn’t work for us if we were talking only to young women and alienating everyone else. Of course, these shows tend to skew more female, but we aim to get the male audiences on board too.” CPL’s Married at First Sight has been stand-out
for Channel 4. “One of the key things is every single channel wants to have their own massive reality show,” says Murray Bolland, creative director at CPL. “It’s not just because everyone wants a big hit…It’s cheaper to make and able to cut through.” For ITV, where Love Island sat safely away from
the broadcaster’s mainstream audience on ITV2, its new streaming service ITVX offers fertile ground to seed more reality. It has already ordered Twofour’s reality game-show Loaded in Paradise. The first factual orders for ITVX are SVOD
touchpoints. They include shows from masters of the box-set 72 Films and Knickerbockerglory TV, makers of Netflix’s most watched documentary, American Murder: The Family Next Door. Alongside true crime, there’s landmark natural history - A Year on Planet Earth, from Plimsoll, narrated by Stephen Fry and featuring “a story arc across the seasons.”
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televisual.com Winter 2022
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